Cocteau Twins – { feuilleton }

Weekend links 778

Saint Anthony Tormented by Demons (c. 1470–75) by Martin Schongauer.

• “Physique was a response to restrictions and laws that kept photographers on a short leash, and what made it lively was they were constantly pulling at that leash.” Vince Aletti discussing Physique, his new book about the history of homoerotic photography. There’s more homoerotica at the latest Vallots After Dark art auction.

• Mentioned here before, but I was reminded of the place last week: 366 Weird Movies, “Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!”

• “When the gods and goddesses of the great religions first emerged, they came into a world already populated with daimons.” David Gordon White on the many lives of Eurasian daimonology.

• At The Wire: Read an extract from Studio Electrophonique: The Sheffield Space Age From The Human League To Pulp.

• At Public Domain Review: Gilded Fish—Illustrations from Histoire naturelle des dorades de la Chine (1780).

• SFJAZZ Digital Media Archive: “…over 2,000 recordings of jazz, world, folk, and roots artists”.

• Mix of the week: DreamScenes – May 2025 at Ambientblog.

• New music: Lake Deep Memory by Pye Corner Audio.

• Steven Heller’s font of the month is Ella.

• Ella Guru (1970) by Captain Beefheart And His Magic Band | Ella Megalast Burls Forever (1988) by Cocteau Twins | Ella (1996) by Faust

Weekend links 697

The Haunted Room, Painted at a Farmhouse on Exmoor (1952) by Alfred James Munnings.

• “In Scotland, children made terrifying jack-o’-lantern turnips and piled cabbage stalks around doors and windows, baiting fairies to bring them new siblings.” It’s that time of year again. Public Domain Review looks at The Book of Hallowe’en (1919) by Ruth Edna Kelley.

• At Wormwoodiana: Mark Valentine on the centenary of Visible and Invisible, EF Benson’s collection of horror stories.

• At Dennis Cooper’s: DC’s ostensibly favourite haunted attractions of Halloween season 2023 (international edition).

Mostly it was down to the environments of their sound. The aerial acrobatics of Fraser’s voice. The architecture of sound that came from Guthrie’s effects-treated guitars; not just the often-cited often-derided ‘cathedrals of sound’ but all manner of sunken ballrooms, tunnels, factories, attics, foundries, observatories, caverns. If any category was required, Cocteau Twins could have been placed within Symbolism, a hallucinatory death-rattle of romanticism in the industrial age, when all that had been discarded returned in dreams and decadence, orgiastic excess, disembodied spectral heads and ornate altars, lonely demons and alluring succubi, jewels and masks and apparitions, all the minutiae of things that the steam engine and the printing press had yet to fully exorcise.

Darran Anderson on the Cocteau Twins’ Head Over Heels at 40. His digs at the music press are a welcome riposte to the nostalgia that often attends discussion of the weekly snark-machine that was the NME, Sounds et al in the 1980s

• Follow the footsteps of the Beast in a guide to Aleister Crowley’s British haunts, with text by Gary Lachman and design by Michelle Merlin. Also at Herb Lester: Occult Paris: City of Night.

• At Print Magazine: Charlotte Beach talks to illustrator and author Edward Carey about his spooky drawings.

• “Silent movies are full of friendly ghosts.” Kathleen Rooney on Caspar, Colleen [Moore] and the Beyond.

• New music: Mizuniwa by Yui Onodera.

• Spooksville (1963) by The Nu-Trends | Spooks (1981) by Tom-Tom Club | Spooky Rhodes (1997) by Laika

Harold Budd, 1936–2020

Art and design for The Pearl by Russell Mills.

I must have listened to this album hundreds of times, maybe thousands, there having been days when I’ve allowed it to loop for hours on end. I’ll never tire of it.

There’s a lot I could write about Harold Budd: about his early electronic compositions like The Oak Of The Golden Dreams; about the way that The Pavilion Of Dreams is the slowest jazz album you’ll ever hear; about the Eno/Lanois production on The Pearl which creates music that’s simultaneously earthed and extraterrestrial, the latter quality making it a (dark-eyed) sister to Apollo—Soundtracks & Atmospheres; about the time that Budd became the fourth member of the Cocteau Twins; about the William Burroughs influence in the poems that Budd reads on By The Dawn’s Early Light; about the beautiful soundtrack he composed with Robin Guthrie for Gregg Araki’s Mysterious Skin, a film whose subject matter isn’t beautiful at all… But it’s easier to simply say listen to this.

Previously on { feuilleton }
• Made To Measure
• Night Music in two parts

Weekend links 403

Cover art by Bruce Pennington, 1974. Via Clark Ashton Smith vs Bruce Pennington.

• Garçons de Joie. Prostitution masculine à Paris 1860-1960 is an exhibition running at Galerie Au Bonheur du Jour, Paris, until May. The catalogue is expensive (and seems to be in French throughout) but features a substantial amount of rare homoerotic art.

• In the latest Expanding Mind podcast Erik Davis talks to Burt Shonberg biographer Spencer Kansa about LA bohemia, psychedelic art, Marjorie Cameron, gumshoe biography, and his new book Out There: The Transcendent Life and Art of Burt Schonberg.

• Gregg Anderson on 20 years of Southern Lord’s dark and heavy art. Related: Earth’s Dylan Carlson announced a new solo album, Conquistador, and single, Scorpions In Their Mouths.

Without any formal training, Smith began to paint and draw his strange visions of sentient plants, grotesque creatures from other dimensions, and throbbing alien landscapes. Eventually commissioned to provide illustrations for Weird Tales, he became one of Lovecraft’s most voluminous correspondents (though never as voluminous as Lovecraft himself). Over the next 10 years, they filled one another’s mailboxes with effusive admiration for each other’s stories and poems. With Lovecraft’s adulatory wind at his back, Smith never strayed far from the Long Valley, and sat home to produce more than a hundred bizarre, linguistically challenging, often unforgettable stories and novelettes for the pulp magazines between 1925 and 1936. Unsurprisingly, Smith’s spurt of fictional creativity didn’t survive the death of Lovecraft in 1937, and while that rich burst of stories may not have earned Smith much money or fame, it caused an almost episteme-shifting earthquake in the brains of the young, aspiring writers lucky enough to read him.

Scott Bradfield on Clark Ashton Smith

• Psychomagic, An Art That Heals will be Alejandro Jodorowsky’s next feature film if the crowdfunding is successful. Many rewards are available, large and small.

• At The Quietus this week: Val Wilmer on Sun Ra, and The Strange World of…Cocteau Twins.

• Spectacular images from Chicago’s turn-of-the-century design bible (The Inland Printer).

• The shop that buys your dead uncle’s porn collection.

• Mix of the week: FACT mix 642 by Mokira.

• Cafe Bohemian (1959) by The Enchanters | Genius Of Love (1981) by Tom Tom Club | A Scandal In Bohemia (1986) by United States Of Existence

Weekend links 350

Transition H50 (2016) by Jessica Eaton.

• One of my weekend posts in 2012 contained details about Taking Tiger Mountain, a low-budget feature film put together in 1983 by Tom Huckabee using footage originally shot in Tangier and Wales in the 1970s. Huckabee’s film is a strange “experimental” work of science fiction, based in part on William Burroughs’ Blade Runner script (no relation to the Ridley Scott film apart from the title), and described here as “a psychotropic apocalyptic odyssey”. The most notable aspect of the film for many will be the presence of a young Bill Paxton in the lead role, something I was reminded of when Paxton’s death was announced earlier this week. Five years ago there was only a short clip of Taking Tiger Mountain available on YouTube but since then a full copy has appeared; watch it here while you can. (The widescreen frame is cropped, and the sound is all in one channel but it’s still watchable.) Tom Huckabee talked about the film’s production (and the Burroughs connections) to Beatdom. A curio that deserves wider attention.

• “With Biller, the references come thick and fast. In The Love Witch, she channels, among others, 50s Hitchcock, Douglas Sirk’s lurid lushness, Rainer Werner Fassbinder’s deadpan gaze, Nicholas Ray’s poetry, Sam Fuller’s tabloid style and Todd Haynes’s revisionist sexual politics. […] Then add the Technicolor, widescreen, haute-Hollywood “women’s pictures” of the 50s, a touch of Hammer Studios, The Wicker Man, Rosemary’s Baby and any number of studio melodramas and musicals.” John Patterson talks to director Anna Biller about her new film, The Love Witch.

• Mix of the week is the Anxious Heart Mix by Moon Wiring Club, another excellent blend of electronica, industria and dialogue samples from the outer limits of the televisual sphere. Also of note this week: VF Mix 83, an Adrian Sherwood selection by Pinch, XLR8R Podcast 479 by Chris SSG, and Secret Thirteen Mix 213 by -N.

• “Anthropologically, this was going on all around me: it was amazing and nobody was dealing with it like that, so I just went for it.” Hal Fischer on his photo-art series, Gay Semiotics, which is on display at Project Native Informant, London, until 1st April.

• Coming in May from Luaka Bop, World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda, the first-ever compilation of Alice Coltrane’s scarce releases on the Avatar Book Institute label.

• Cinephilia looks back at Robert Wise and Nelson Gidding’s film of The Andromeda Strain (1971).

• Psychedelic Speed Freak: Remembering the blistering experimentalism of Hideo Ikeezumi.

• More witchery: S. Elizabeth talks to Pam Grossman about art, film and hex power.

• At The Quietus: Harry Sword on the strange world of Surgeon.

• Leonor Fini playing cards

• The Feathered Tiger (1969) by Kaleidoscope | Taking Tiger Mountain (1974) by Brian Eno | Plain Tiger (1985) by Cocteau Twins